| Alain | 3.25 | |
| Anel | 5 | |
| drélium | 3 | |
| Elise | 3.5 | |
| Flying Marmotte | 4 | |
| François | 4.5  |
|
| Ghost Dog | 5 |
|
| jeffy | 4.5 |
|
| MLF | 4.25 | |
| Ordell Robbie | 4.5  |
Breatheless |
| Ryoga | 5 |
|
| Sonatine | 4.5 |
|
| Tenebres83 | 3.75 |
|
| Xavier Chanoine | 4.25 |
With Chung King Express, the Wong Kar Wai's touch was born: the use of accelerations, slow motion, documentary like camera, Chris Doyle's strongly coloured photography to be the closest to the emotions created by that feeling called love. And there's tons of ideas never to be forgotten: the pineapple tin cans which rythm the wait for the loved one, the air plane ticket with written on it "flight canceled" to announce the end of a love, the lovemaking in the plane, the extraordinay use of California Dreaming as a metaphor for the desire of escaping that fascinating place called Hong Kong. And its content visual inventivity associated with the glamour of Takeshi Kaneshiro, the elegance of Tony Leung Chiu Wai as a policeman, the naiveness of Faye Wong and MOST OF ALL Brigitte Lin as a professional killer dressed (and hairdressed) just like Gena Rowland in John Cassavettes' classic Gloria makes the movie look like a Breatheless for the pre-1997 Hong Kong: Wong Kar Wai captures the agitation of the Hong Kong youth of the nineties the way Godard did for the french youth of the sixties. Its style is the one of Hong Kong popular cinema but Wong Kar Wai is pretty much a New Wave of his own. Chung King Express is in a word like in a hundred a classic because just like Tarantino's movies it doesn't care for its place in Movie History. And it's right not to care for it. It would fail if so.
